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1918 
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53-2 


MRS. CLANCY’S CAR RIDE 

A Farce in One Act 


BY 

EDWARD ELLIS and EDITH ELLIS BAKER 
•• ♦ 


The use of this piece by courtesy of the Author. 
Dramatic Rights by courtesy of Sanger and Jordan 


Copyright, 1918, By Edith Ellis 


1 • * 

WASHINGTON 

Commission on Training Camp Activities 
Department of Dramatic Activities Among the 

Soldiers. 

1918. 

VC 

Monocr^"" 





PLAYS, MONOLOGUES, AND TEXTS FOR 
MINSTREL SHOWS ARE PUBLISHED 


BY 


THE COMMISSION ON TRAINING 
CAMP ACTIVITIES 


AND 


MAY BE OBTAINED, FREE OF CHARGE, 
BY NUMBERS OF DRAMATIC UNITS 
ORDERED OVER SEAS, ’ EITHER FROM 
THEIR DRAMATIC DIRECTORS, OR 
UPON APPLICATION 


THE DEPARTMENT OF DRAMATIC 
ACTIVITIES AMONG THE SOLDIERS 
MANUSCRIPT DIVISION, 

1520 BROADWAY, NEW YORK CITY. 






“MRS. CLANCY’S CAR RIDE” 

Characters 

Mrs. Clancy, a wash woman. 

Patrick Clancy, her son. 

Car Conductor. 

Passengers. 

Scenes 

Scene I. — Exterior of Mrs. Clancy's shanty in the 
Bronx. 

Scene II. — Interior of a street car. 

Scene I.—Exterior of Mrs. Clancy’s shanty in 
the Bronx. 

Scene II.—Interior of a street-car. 

TIME—The Present. 

Scene I. —A drop hung in I. painted to represent 
a squatter district like old Harlem. On the 
lower right hand is painted a hut with door. 
This door is made practical by cutting it out 
of the drop and backing it with a piece of 
house scenery containing door. 

In the centre of the drop and two feet from 
the floor, is an opening about fifteen feet long 
and seven feet high. In Scene I. this opening 
is covered by a curtain a little larger than 
the opening and painted to blend in with the 
drop. 

LIGHTS full up. Lively music at rise. 

Patrick. (Enters from door of house at rise 
and speaks to some one in the house. He wears 
a cap and sweater and has the huge shoulders and 
manner of a “fighter”.) I tell you I’m due at 
Mulligan’s. 

Mrs. Clancy. (Inside house.) Well, you got 
to take the wash home. 

Patrick. (Starting L.) I’ll take it home to¬ 
morrow. 

Mrs. Clancy. (Has bonnet and shawl over one 
arm and carries a small clothes basket, evidently 
full, over which is tied a thin covering of cheese 

3 


cloth.) To-morrow, is it? Now what kind of talk 
is it yer given me? 

Patrick. To-day’s only Friday; they don’t 
have to change their clothes till to-morrow. 

Mrs. Clancy. But I promised tliiin fer a 
Friday. 

Patrick. I’m due at Mulligan’s, I tell you, to 
meet me trainer. Take ’em home yerself. 

Mrs. Clancy. I got to go to market and get the 
corned beef fer the dinner. Will ye take it this 
evenin’? 

Patrick. I can’t. I'm taking Maggie Kava- 
naugh to the street-cleaners’ ball. 

Mrs. Clancy. What? That little wizened 

— 

Patrick. Ah, cut. She’s me stiddv. Ye’ll have 
to take this wash home yerself. 

Mrs. Clancy. But I don’t know the way. Lord 
knows whin 1 was down town last. I’d lose me- 
self. 

Patrick. Ye take a Second Avenue down, a 
cross-town and then a Tenth Avenue. See? 

Mrs. Clancy. How's that I take a Second 
Avenue up and— 

Patrick. ( Impatiently) No, no. Down ; you 
take it down. Say, I got to hurry. (Starts L.) 

Mrs. Clancy. (Hanging on to him.) Oh, I 
take a Second Avenue down. 

Patrick. Yes, dat’s it. 

Mrs. Clancy. And a cross-town up. 

Patrick. (Trying to get away.) Yes, yes, 
you’ll find it all right. 

Mrs. Clancy. And where do they live? 

Patrick. At the Swellcrest, Tenth Avenue and 
Fifty-Seventh. (Breaks away from her.) 

Mrs. Clancy. Now, wait a minute. 

Patrick. Do you want to queer me wid de 
bunch? I got to go. (Exits briskly L. I.) 

Mrs. Clancy. (Calling after him.) Ye have 

4 


the roight to take this home yerself, Patrick. 
(Looks after him and gives a little laugh.) Ain’t 
he the stubborn thing? Just loike his father. His 
father was the stubbornest man. I’ve known the 
policemen to have to crack his head open before 
Clancy would give up and git into the patrol 
wagon. Oh, all the Clancys are loike that. Now 
on my side of the house— ( Her eye falls on bas¬ 
ket and her thought changes.) 1 wonder would 
I take the wash home now or go to market first? 
Patrick should have tuk ’em. But my, oh my, the 
by’s so busy these days, it’s small wonder he fergits 
his home jooties. Did ye notice the build av him? 
Shoulders loike that. (Measures.) And the mus¬ 
cles; did ye observe the muscles av him? Why, 
they’s regular biceps. I couldn’t describe ’em to 
ye. ’Twould knock ye down to feel ’em. And, 

1 / 1 / f 

say, ( proudly) it’s the great reputation he’s got. 
Oh, lie’s a foighter all right. Why, only last week 
he laid out two men and four Swedes. Yes, and 
when the bartender butted in he handed him his. 
1 don’t know what he handed him, but Patrick 
explained it to me after I paid his fine the next 
morn. Oh, he’s a l'oine by. He’s gettin’ into regu¬ 
lar muscular society now. They call him the 
Harlem Shine. Ain’t that great? They’re gettin’ 
up a match fer him. His picture’s goin’ to be in 
all the papers. It’s no wonder he don’t want to 
take home the wash. He’s a very ambitious by. 

* The Car Barns Club has arranged a match be¬ 
tween Patrick and the Jersey Wonder. (Confi¬ 
dentially.) The girls do be just crazy after him 
and that little runt Maggie Kavanaugh, she that’s 
in the corset department at Hearnes, well she’s 
pinin’ away that fast fer him that her mother’s 
givin’ her thim Pink Pills fer Pale People. Much 
good will they do her. The idea of a Kavanaugh 
tryin’ to but into the Clancy family. It’s terrible 
the persumption some people has, anyway. (Tying 


on her bonnet.) Well, this ain’t gittin’ the wash 
home. And thim people waitin’ fer it. Oh, but 
they're the loveliest people. They live in one of 
thim compartment houses. Oh, it’s grand? They 
have the dumb waiters in uniform. It’s the Swill- 
crest. I’ve niver been there, but Patrick says 
they have palm trees growing roight up out of the 
marble floors. Think of it. Ot, it's wonderful the 
things ye can see nowadays. Oh, my, yes, they’re 
lovely people. She doesn’t even wash out her 
pocket handkerchiefs. Everything comes to me. 
and he—oh, lie’s a grand man. Loike a new pin. 
No rubbin’ at all on his wrist-bands. And ye know 
what some people are; they’re that—well, say, it 
takes a washwoman to read people’s characters. 
It’s no sign because a woman has got her hair 
manicured into one of thim wash-board waves 
that there’s no holes in her stockin’s. No, sir. 
(Puts on shawl.) I’ll have to take this home me- 
self, I suppose. I wonder now can I foind the 
place. I haven't been down town since I wint to 
the christenin’ of me neice’s twins. Now, how is 
it I go? I take the Second Avenue car down, and 
git a transfer across, then transfer up. (Picks 
up basket.) That’s it. Down and over and up, 
and I’m there. Then up and over and down and 
I’m home agin. I’ll go to the butcher’s on me way 
back. I mus’ git home early. It’s very danger¬ 
ous fer an attractive woman to be out after dark 
these days. Sure I’ll take no chances. ( Exits 
L. I.) 

-curtain- 


scene II. —Set same as Scene I. except that the 
small curtain is raised and through the open 
ing in the drop is disclosed the interior of a 
street car—an ordinary car, cut in two 
lengthwise, and one-half set up behind the 
opening in drop conveying the idea intended. 

6 



The absolutely necessary furnishings of 
this car are the seat, the fare register, bell- 
rope, strap hangers, and rear door, but the set 
can be elaborated to the extent of having 
glass windows instead of the painted ones 
and a moving panorama back of window. 
Revolving wheels, warning gong, brake and 
whirring motor effects. Dummy figures could 
also be used to help fill the car. 

In rehearsing, great care must be taken to 
get the swaying of the passengers in the pro¬ 
per directions as the car starts and stops. 

NOTE. 

It is suggested if the military conditions are 
too difficult for adequate scenery that the second 
scene (Interior of a Street Car) could be sug¬ 
gested by two benches facing each other.—The 
pulling of the bell rope could be suggested by 
pantomime. In this case all that would be needed 
would be two different toned bells; one for ring¬ 
ing up the fares, the other to notify the motorman. 

In Scene I. the lights are full up, but in 
Scene II. the car should be lighted from be¬ 
hind the drop and the lights in front of it 
lowered so that the drop is indistinguishable. 
{Discovered at rise, the conductor on the platform 
rear, and a drunken man who sits in the rear end 
of the car half asleep. Conductor rings bell once. 
Drunken man rouses and thinks he should get off , 
struggles up from his seat.) 

Conductor. (Reaching in and shoving him 
back into his seat.) What’s de matter wid you? 
Dis ain’t where you get off. (Passengers enter.) 
Step lively. Step lively. 

(Four men enter the car, the first a Jew with a 
pack done up in black oilcloth. lie goes to the 
front end and sits, putting his pack on the floor 
in front of him. Next comes a young Bowery 


youth who looks very sporty. Next a business 
man, and last a icorkiny man with his dinner jxiil. 
The conductor rings twice and all sway as if with 
hte jerk of the car. The drunken man has gone to 
sleep again. The conductor enters the car.) Fare, 
please! Fare, please. (All get out fares. The 
Jew gives him a transfer. Conductor looks at it 
and hands it back.) l)at ain’t no good. Dat’s a 
week old. Come on now, dig lip your coin. (Jew 
reluctantly pays fare. Conductor continues col¬ 
lecting fares and ringing them up. Conductor , 
in the midst of collecting, looks out of window as 
if he saw passengers signalling car. He rings 
once. All sway. He sees that there are no pas¬ 
sengers to get on, rings twice. All sicay the oppo¬ 
site way. Drunken man gets up and tries to get 
off. Conductor goes after him, pulls him back and 
flings him into his seat again.) Say, what are ye 
doin’ there? Wait till I put you off, will you? 
(Rings once for car to stop again.) Step lively 
there, please. (He is in the centre of car. Sees 
Jew's pack on the floor.) Keep that junk in yer 
lap. l)is ain’t no freight car. (Impatient at 
delay of passenger in getting on the car.) Step 
lively there, please. 

(Mrs. Clancy struggles up on back platform 
with her basket. As she gets to the door, the 
conductor rings twice, all sway, she goes back¬ 
ward as if going over the back of the car. The 
conductor runs to her and pulls the basket for¬ 
ward and her with it. The business man is just 
standing up putting his change back in his pocket. 
.48 the conductor pulls Mrs. Clancy forward, the 
impetus starts her and she falls forward, slam¬ 
ming her basket against the conductor. He stum¬ 
bles against the man standing, who in turn is 
almost thrown down.) 

Conductor. (To Mrs. Clancy) Say, what’s de 
matter wid vou? What do you tink yer doin’? 

8 


{The business man glares at her and scats him 
self, pulling out a newspaper and reading it, as 
do the Bowery Boy and the working man. There 
is but one seat left, and that is between the Jew 
and the Bowery boy. Mrs. Clancy runs up and 
down the car with her basket, looking on both 
sides for a seat. She finally sees the one vacant.) 

Mrs. Clancy. It’s a wonder ye wouldn’t move 
over. (Sits and tries to take her basket on her 
lap. Shoves her arms into the chests of the men 
on either side of her and teat's the newspaper of 
the one on her left with her elboic. Both men 
look angrily at her.) 

Conductor. Say, lady, be careful wid dat bas¬ 
ket. You ought to hire an express wagon. 

Mrs. Clancy. None of yer personal remarks, 
young man, or I’ll report ye. 

(Conductor rings one; all sway; she makes a 
grab at her basket as it slips from her grasp and 
all but falls off her seat. She sways over against 
the Jew, who resents it.) 

Mrs. Clancy. What’s the matter wid this car, 
anyway ? 

Conductor. Step lively. [Man enters car. 
There is no seat so he hangs onto strap with one 
hand and holds newspaper with the other. The 
Conductor rings twice. All lurch back. It dis¬ 
lodges Mrs. Clancy and she lurches against the 
man who is standing.) 

Mrs. Clancy. I beg yer pardon but (adjusting 
her bonnet) it’s as much as yer loif is worth to 
try and keep yer bonnet straight in these street 
cars. {Down in seat again.) The boat I came 
over in was never loike this. My, oh, my! {The 
Bowery boy on her left is reading the sporting 
page of the Journal. She looks over onto his 
paper, becomes interested. Stoops and tries to 
see what is on the other side. Sees something 
that interests her and tries to take the paper from 

9 


him.) I was wonderin’ if my soil’s picture 
wouldn’t be in here, lie’s one of the foighters. Oh, 
yes. He’s the Harlem Shine. ( The man jerks his 
paper away and resumes reading. &he recognizes 
some one across the way. Well, well, and is that 
you, Mrs. Kavanaugli? What are ye doin’ so far 
from home? What? Goin’ to the theatre? It's 
a wonder you wouldn’t be home doin’ yer work 
of a Friday. (Indicates Jew.) Will you look at 
this? (With a gesture of disgust.) Ain’t it ter¬ 
rible the quare lookin’ i>eople you meet on the 
cars? And the furreigners, why the city’s just 
aloive wid ’em. That’s why I’d loike to live in 
the Bronx. It’s so aristocratic. And, say, have 
ye been up to the Zoo lately? What? Yes. Say, 
ain’t it gettin’ fashionable? Yes, all the Grand 
Opera folks. Oh, yes—yes—Sure—The monkey 
house is a great place. ( Looks opposite as if at 
some one down the line further — Indignantly) 
Would ye—why—would ye look at that! Why 
ye ould devil. Stop yer makin’ eyes at me. (To 
Mrs. Kavanaugh.) l)o you see that ould dude 
trvin’ to flirt wid me? (To the man) Ye ought 
to be ashamed of yerself. (Man on her left whis¬ 
pers to her.) What? Chauncey Depew, is it? 
Sure, I don’t care if he was Chauncey Olcott. lie 
can’t flirt wid me. I’m a decent woman. (Hand 
up to ring hell.) 

Mrs. Clancy. I’ve lost me transfer. 

Conductor. (Bawling.) Do you want to get 
off? 

Mrs. Clancy. (Goes down to door leaving bas¬ 
ket.) Will ye wait fer me till I go and look fer 
me transfer? 

Conductor. Naw. Dis ain’t no lost aud found 
department. 

Mrs. Clancy. Well, you see, I must have 
dropped it and— 

Conductor. Well, den vou’ll have to pav anud- 

10 ‘ 


der fare, see? 

Mrs. Clancy. My, oh my, all the profit will 
be off the wash. (The man who was standing has 
taken her seat and is now reading his newspaper. 
She goes back to seat, sees a man in it, gets con¬ 
fused as to where she was sitting. Picks up her 
basket and runs up and down the aisle with it.) 
Sure, I know I was sittin’ down here somewhere. 
I know I had a seat. You saw me sittin’ down, 
didn’t ye, Mrs. Kavanaugh? (Realizes that her 
seat has been taken.) 

( Conductor, instead of immediately giving 
change, looks out of window as if he saw passen¬ 
gers waiting. Rings once, then twice, as if no 
one was to get on after all. Mrs. Clancy still 
holding out her hand for change.) 

Mrs. Clancy. Give me me change, w r hy don’t 
you? 

Conductor. (Giving change.) Give me a 
chance, can’t you? (Goes back on platform.) 

Mrs. Clancy. (Putting purse back.) If ye 
don’t watch ’em, they’ll steal ye blind. Say, Con¬ 
ductor, don’t fergit to tell me whin we git to 
Ninth avenue. (To Mrs. Kavanaugh.) It’s a 
wonder some of these men wouldn’t get up and 
give me a seat. I had a seat next the Sheeney 
there and I lost it. (Swings around on the strap 
as car lurches and all sway with it.) Say, Mrs. 
Kavanaugh, that’s a very swell seal skin sacque 
you have on there. What? “Yer husband gave it 
to ve”? Oh yes. I heard there was a fur store 
broke into last week. Oh, that’s all right, let thim 
put on style as kin pay for it. 

(Conductor rings once. All sway. Mrs. Clancy 
loses hold on strap and knocks the business man’s 
hat off. Young shop girl gets on car. She wears 
a large picture hat and a pompadour over one eye. 
She walks very much with a “straight front” ef¬ 
fect. She sees there is no seat, is about to grab 

11 


strap when all the men rise and offer her a seat. 
Even the drunken man struggles up out of his 
sea t .) 

Drunken Man. What’s the matter, is there 
a fire? 

(The shop girl goes to seat between the Bowery 
boy and the last man who entered. As she sits 
they all sit again, squeezing each other. Mrs. 
Clancy tries to get in, but they all get seated first 
and she is left out. The shop girl looks very proud 
and haughty. All the men are staring at the shop 
girl over their papers.) 

Mrs. Clancy. What do you think of that now? 
It’s a great pity I didn’t do me hair in a pompe- 
dour and wear me bonnet standin’ upside down. 
(All the men suddenly cease looking at the girl 
and bury their heads in their papers. Swinging 
round on strap, in a burst of wrath addressing 
the whole car) For the love of Hivin, have none 
of ye homes? (All look up and scowl at her, then 
back into their papers again. To conductor.) 
Don’t fergit to tell me whin we git to Ninth Ave¬ 
nue. (She stands on the feet of the business man.) 

Business Man. Madam, you are standing on 
mv feet. 

Mrs. Clancy. Well, what were feet made for 
but to stand on? Conductor, are we at Ninth 
Avenue yet? 

Conductor. Say, lady, when we get to Ninth 
Avenue, I’ll tell you. See? 

Mrs. Clancy. Be sure ye do now. (Man next 
the drunk gets off. Conductor rings once for stop. 
All sway. Mrs. Clancy grabs her basket while 
he is letting off and gets to seat as the conductor 
rings twice and all sway. She lands on the lap 
of the man on her left—the working man. Her 
basket goes onto the lap of the business man and 
he throtes it across the girl to the Bowery Boy, 
who slams the Jew on the head with it. The Jew 

12 


litters a howl of pain. The basket falls on the 
floor. All the passengers growl and express their 
disgust. .Chasing the basket) Stop, stop, hould 
on there. Do you know whose wash yer throwin’ 
around? ( Gets her basket and comes back to 
her seat.) It’s a wonder a lady can’t get into a 
car widout her wash bein’ thrown all over the 
place. (Seats herself again.) Conductor, con¬ 
ductor. 

Conductor. What is it? ( Enters car.) 

Mrs. Clancy. Ye didn’t give me a transfer. 

Conductor. Ye didn’t ask fer one. 

Mrs. Clancy. Oh, didn’t I? Well, I’m askin’ 
fer one now. 

Conductor. Can’t give ye one now, lady. 

Mrs. Clancy. And for why can’t you give me 
one? 

Conductor. Against the rules. 

Mrs. Clancy. Never you mind the rules, you 
give me a transfer. 

Conductor. Can’t do it. Ye didn’t ask fer it 
when you paid yer fare. 

Mrs. Clancy. (Getting angry and loud.) Well, 
Pm askin’ fer it now, ain’t it? 

Conductor. (Pointing to a supposed sign on 
opposite side of car.) Passengers desiring trans¬ 
fers must ask conductor for them at the time fare 
is paid. Can’t you read dat? 

Mrs. Clancy. And do you think I can pay me 
fare, hang on to a strap and ask for a transfer 
all at the same time. What do ye think I am? 

Conductor. (Gives her a yellow transfer.) 
ITere ye are, And de next time you ask fer it when 
ye pays yer fare. See? 

Mrs. Clancy. Don’t forget when we get to 
Ninth Avenue. (Conductor goes out on platform.) 

Conductor. Don’t tell me that again, please. 
(Kicks over the pail of the icorking man sitting 
next to her on left. It rolls off. He gets it and 

18 


looks angrily at her. She is examining transftr.) 

Mus. Clancy. Say, Conductor, come here. 

Conductor. What do you want? 

Mrs. Clancy. ( Holding up transfer.)' Say. 
haven’t ye got any green transfers? I don’t like 
this yellow one. 

Conductor. Say, if you don’t look out I’ll take 
it away from you and you won’t get any. 

Mrs. Clancy. Have ye no green ones at all? 

Conductor. Naw, I tell you. ( Goes out on 

back platform.) 

Mrs. Clancy. It’s verv funny he wouldn’t have 
any green ones. (The working man has put his 
dinner pail on his left instead of next her. The 
drunken man sways over sleepily and almost gets 
his head on her shoulder. She makes a gesture 
of disgust at the odor.) Whew! My, oh my! 
(Pushes him away from her.) Where do you 
think you are? Leanin’ over a bar? (To the yuan 
on her left.) Say, would ye moind changin’ seats 
wid me. (The workingman impatiently gets up 
and changes seats , forgetting his dinner pail , 
which is yww on the floor left of Mrs. Clancy.) 
Thank you. Conductor, Conductor. 

Conductor. (Entering.) What is it? 

Mrs. Clancy. Why don’t you put that drunken 
man off? 

Conductor. I’ll put you off if you don’t keep 
quiet. ( Exits door.) 

Mrs. Clancy. Will you listen to him, Mrs. 
Kavanaugh? What do you suppose Patrick 
would do to him if he heard that remark? I guess 
the champion middleweight of Harlem would 
teach him a lesson in street car manners. 

Conductor. (Calling out.) Ninth Avenue. 

Mrs. Clancy. (Paying no attention.) Say, I 
hear your bye Tim lost his job on the Jersey Cen¬ 
tral. 

Conductor. (Pings bell once. All sway.) 

14 


Ninth Avenue. 

Mrs. Clancy. I hope Maggie don’t lose her 
job in the corset department or ye’ll be hangin’ 
up yer seal skin sacque fer the winter’s coal. 

Conductor. ( Angrily in doorway.) Say, lady, 
do you want to get out at Ninth Avenue? 

Mrs. Clancy. Is this Ninth Avenue? 

Conductor. Yes. I)o you want to get off. 

Mrs. Clancy. No, but I’ve got a friend that’s 
rinted a flat on this corner. I want to see what 
the neighborhood’s loike. ( Peers out opposite side 
of car.) There’s the place, Mrs. Kavanaugh. Six¬ 
teen dollars a month and four flights up. I don’t 
think they’re cheap, do you? ( Conductor rings 
bell twice viciously. All sway.) 

Conductor. ( Coming in to her.) Say, you’re 
annoying everybody in de car. 

Conductor. If you don’t keep quiet I’ll put 
you off. 

Mrs. Clancy. Will ye listen to that? Say, 
what’s your number? 

Conductor. Never mind my number, you just 
keep still. 

Mrs. Clancy. Somebody get that fresh con¬ 
ductor’s number for me. He’ll get a call from 
the Harlem Shine that'll make him lay off fer a 
month. (Looks to see where she is.) Where are 
ye takin’ me anyway. Let me off this car. I want 
to get off at Tenth Avenue. ( Grabs rope of regis¬ 
ter and keeps pulling it and it goes on registering 
fares with every pull. 

Conductor. (Furious and rushing in the car.) 
Here, what are ye doin’ thare? Stop that! 

Mrs. Clancy. You stop this car! 

Conductor. Don’t ye know dat costs me 
money ? 

Mrs. Clancy. Well, stop the car whin I tell you 
then. (A big crash. All the passengers are 
thrown into confusion. Conductor runs out back 

15 


LIBRARY 

01 

E CONGRESS 

1 

II III III 

II 

iiiiiiii 


0 015 821 820 3 § 


and looks ahead. Mrs. Clancy's basket covering 
has come loose, and in the melee the clothes begin 
to fall oat.) 

Conductor. All out. Car ahead. 

(The passengers scramble to get out. The gar¬ 
ments from her basket catch on them. They pick 
them up and toss them around. The articles get 
on their heads, over their arms. One man tosses 
a pair of ladies f hose over the strap pole. Mrs. 
Clancy is trying to get the pieces as the curtain 
falls, i 

Second Curtain .— (All are out of the car but 
Mrs. Clancy, who is getting the things back in the 
basket. Just as she puts them in and is starting , 
the conductor shouts, ‘‘All aboard,” rings bell 
once. Mrs. Clancy falls, sitting in her basket.) 


16 


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